Darkness+On+The+Edge+Of+Town+-+Studio+Sessions

include component="page" page="content_legendott" wrap="1" code Commercial Release: June 2, 1978 Produced by Bruce Springsteen and Jon Landau Recorded at Atlantic Studios, New York City (June-August 1977) and The Record Plant, New York City (July 1977-March 1978) Recorded by Jimmy Iovine code Part One - Darkness On The Edge Of Town Sessions Overview

Springsteen reached a final settlement in his year-long litigation with Mike Appel on May 28, 1977. Effectively this meant that for the first time in a year Springsteen was able to go into a studio and record. He wasted no time. Recording sessions for the fourth album began just four days later, on June 1, 1977 at Atlantic Studios in New York City. That first night Springsteen laid down at least eight songs, including a take of "Something In The Night" that actually made the final album. Springsteen had a considerable amount of new material – but the songs were in various stages of writing completion. Consequently, many of the songs were shaped over the course of numerous sessions spanning several months.

The sessions at Atlantic Studios were only two or three weeks old when problems surfaced. Bruce didn't like the sound he was getting from the studio (particularly the drums). On top of that, Atlantic did not offer a particularly comfortable or livable environment for the musicians. So there was a decision taken to shift operations to the nearby Record Plant (where most of the //Born To Run// album had been recorded). However, they’d already made financial commitments to Atlantic Studios, plus on such short notice they were unable to find much un-booked studio time at the popular Record Plant. Consequently, the period through August into September 1977 saw Springsteen and the band recording at both studios – but mostly Atlantic. However, from mid-September thru late December all recording seems to have taken place at The Record Plant – where all but one the recordings issued on the original album emanate from.

The actual recording sessions for //Darkness On The Edge Of Town// were completed by early January 1978. The mixing sessions began in early January 1978 and dragged on until late March – there were a tremendous amount of different mixes considered, with Springsteen changing his mind on the mix of one song (“The Promised Land”) as late as early April. From March 1978 to the start of the Darkness Tour in late May Steve Van Zandt and Max Weinberg were very busy at nearby Secret Sound Studios with Southside Johnny’s //Hearts Of Stone// album (released early October 1978). Springsteen donated two non short-listed songs from the //Darkness// sessions to the Southside LP project.

According to comments by //Darkness// sessions recording engineer Jimmy Iovine about thirty songs were recorded to a completed state and available for inclusion on the //Darkness// album. There were an unknown number of additional songs not fully completed. What “not fully completed” means is uncertain. At this stage thirty-two songs have been officially released (the ten on the original album, four on //Tracks// and eighteen on //The Promise//) but several of these have modern vocal takes, and their 1978 state remains unknown. There is also an unknown amount of not fully finished recordings. The list below contains fifty-four songs from the period that likely encompass all or nearly all of the thirty songs Jimmy Iovine was alluding to, as well as most of the ones never completed.

The audio from the //Darkness// sessions that has surfaced unofficially over the years has been of rather disappointing quality. During the late 1970s and 1980s most of it was of very weak quality. However, over the past twenty years lower generation audio specimens have emerged and the CD-era boots of this audio have been a noticeable improvement over their vinyl era counterparts. Yet in many cases it has become apparent that there were flaws in the way the original source individuals taped these studio sessions. There certainly appears to have been some hidden “fly-on-the-wall” type tapings. The other problem is that much of the leaked audio is of early studio workouts of these songs, rather than later, fully realized renditions. Most of the leaked studio material emanates from the June-October 1977 period, so the later November 77-January 78 sessions may include several other songs that remain undocumented, even after the release of //The Promise//.

The 2010 release of //The Promise// is somewhat of a double-edged sword. We now have a slightly better understanding of the //Darkness// sessions, as well as access to several tracks that were previously unknown to us such as "Save My Love" and "Breakaway". However, the wonderful notebook facsimile included in the box lists titles of many songs (see Part Four below) that are totally new to us. It is unknown how many of these songs actually exist; many may not be songs at all - just titles. Jimmy Iovine mentions in the making-of documentary that Springsteen wrote seventy songs for potential use on "Album IV". It remains a possibility that even the seventy songs referred to by Iovine is a conservative estimate of Springsteen's true output at this time. A case of three steps forward, two steps back?

Much of the studio session detail below is courtesy of Clinton Heylin's book //E Street Shuffle - The Glory Days of Bruce Springsteen & The E Street Band.//

Part Two - Darkness Sessions Details

Note: V1 is apparently from August 1977 at Atlantic Studios. All three versions appear to consist of the same backing. V1a is solely instrumental with no vocals, V1b and V1c utilise different vocal takes with some lyrical differences from the album version. The lyrics found in V1c in particular share very little with Springsteen's final take. V2 (two different mixes - V2a is mix take #23 from April 11, 1978, and was pressed to a metal acetate the following day) was recorded in the winter of 1977 at The Record Plant. According to studio logs, takes recorded at Atlantic Studios on June 27 and 30 and July 11 + 13, 1977, at Atlantic or Record Plant on August 24 and 30, plus December 12 and February 22-23 and 25, 1978, all at The Record Plant. A stereo fold-down mono version is also available as the b-side of the white label promo 45. Note: Premiered live on August 1, 1976 and transitioned through many evolutions, both musically and lyrically, throughout the 1976 and 1977 tours before Bruce was satisfied. These early versions are quite stunning and in some ways superior to the final album arrangement. V1 is from early in the sessions - logs show there were takes recorded on June 1, 14 and 16, 1977 at Atlantic Studios. V2 (three different mixes) was previously thought to emanate from later in the sessions at The Record Plant, but this does not appear to be the case. An early alternative title was "Night Shot". Take #42, mixed on February 27, 1978, was pressed to a metal acetate on April 12, 1978. It's likely that this mix was used for the final album. Note: Four different versions. V1 is a nice solo piano take (the Lost Masters III audio cuts prematurely) from early in the sessions, perhaps July 2, 1977. According to the Lost Masters III liner notes, V2 was recorded in August 1977 - if that is the case then it dates the official album version to around the same time since this take features the album arrangement, with some lyrical variations. V3a is a stunning alternate band performance with wailing harmonica and tremendous vocal by Bruce. The officially released V3b, titled "Racing In The Street ('78)" on //The Promise// CD, utilises a different vocal take and is improved with the addition of David Lindley on violin. All this indicates that the //Promise// version was recorded in November/December 1977, several months after V4, the album take. Studio logs list takes from July 2, 1977 at Atlantic, August 1-4, 10, 12, 29-30, 1977 (either Atlantic or The Record Plant), and November 28-30 and December 6 + 9, 1977 at The Record Plant. Mixing sessions took place at The Record Plant on March 21 and 23, 1978, One working title was "Dying In The Street". Bruce adapted the lines "summer's here and the time is right / for goin' racing in the street" from Martha and the Vandellas' "Dancing In The Street". Note: V1 is apparently from Atlantic Studios in August 1977. V2 (three mixes) is from The Record Plant in December 1977. Takes recorded June 24 at Atlantic, either Atlantic or The Record Plant on August 24 and 30, plus December 6, 12 and 29, 1977 at The Record Plant. V2b is mix take #28 from April 5, 1978. It was pressed to a metal acetate on April 12, 1978. Note: V1 is from The Record Plant, perhaps on September 12, 1977, prior to Bruce having the lyrics written – the lyrics to “Something In The Night” are used instead, save for the refrain and the second verse, thus making for fascinating listening. V2 (three mixes) is from The Record Plant on September 14-16, 1977. A stereo fold down mono version is also available as the b-side of the white label promo 45. Note: V1 is a rough workout, probably from either July 2 or 13 at Atlantic Studios, with the melody complete but with embryonic, alternative lyrics. V2 is the final released take, titled "Come On (Let's Go Tonight)". Also recorded at either Atlantic or Record Plant on August 23-24 and 30, and at The Record Plant on September 8, November 2, 7-8 and December 9 and 29, 1977. The official release includes an uncredited violin part by David Lindley. The early, work-in-progress title was “Let’s Go Tonight”. Aspects of the music and lyrics can also be found in "Factory". Bruce would return to the song in April 1981 during a break in The River Tour, recording a solo acoustic demo. Soon after, he borrowed the first two lines of Chuck Berry's "Bye Bye Johnny", combined it with "Come On (Let's Go Tonight)", and created "Johnny Bye-Bye". The composition was premiered live in May 1981 and recorded in the studio in 1982 and 1983. Note: Both the music and lyrics evolved from "Come On (Let's Go Tonight)". V1 is from Atlantic Studios in August 1977. V2 (three different mixes) is from The Record Plant sometime around October-November 1977. V1 and V2a include a violin overdub from David Lindley (from Jackson Browne’s band). V2b is mix take #28 from April 3, 1978. It was pressed to a metal acetate with the title "Factory Song" on April 12, 1978. All the 1977 takes are listed in the studio logs as "Come On (Let's Go Tonight)", The only takes logged as "Factory" are from March 10 and 14, 1978. Note: V1 is apparently from August 1977 at Atlantic Studios, although "Adam" doesn't appear in the studio logs until November. V2 is from October - November 1977 at The Record Plant. Takes recorded November 9 and December 15, 1977 and February 15-17, 1978. Bruce’s work-in-progress title was “Daddy Raised A Cain”. Note: The versions above provide a good insight into how Springsteen develops some songs through the course of numerous sessions, with all three being distinctive songs. Note: One of the last songs written and recorded for the album. Both V1a and V1b are the same performance, recorded at Record Plant in December 1977. V1a is a slightly different mix (probably take #5, which was pressed to a metal acetate on April 12, 1978) without the guitar solo that was only dumped from the album in favor of V1b at the very last moment. Three takes were recorded on September 30, 1977, plus another 20 on October 27. Further work was undertaken on December 1 and 27. Van Zandt's guitar solo is added at the literal last minute, briefly delaying the album release because the entire album side must be remastered. Note: Takes recorded June 6, 8-9, 20 and 23, 1977 at Atlantic Studios, and March 8-10, 1978 at The Record Plant. Written about six months after //Born To Run// was finished and selected for the album title but, ironically, this song wasn't completed until late in the recording sessions in March 1978. Cut in a studio with bare concrete walls after the room was gutted prior to renovation. Original artwork mock-ups for the album from October 1977 (when the album was to be titled //Badlands//) do not even include "Darkness On The Edge Of Town" on the album. V1 is an alternative arrangement with some nice guitar work. V2a and V2b are different mixes of the same basic recording. V2a (which can be identified by the addition of the word "ready" to the line "I'll be there on time ready to pay the cost") is mix take #28 from March 30, 1978 and was pressed to metal acetate on April 12, 1978. Early alternative title was "The Racer". Note: V1 and V2 are different backing tracks. V3 contains a rough Springsteen vocal. V1 thru V3 were recorded at Atlantic Studios in June 1977. Logs show there were takes recorded on June 1, 6-8, 17 and 24). V4 was also recorded at Atlantic on July 2 and 7, 1977 (the March 1, 1978 recording date often cited was actually the final mix date). Also cut at The Record Plant late in the sessions, on February 28 and March 2, 1978. Under consideration for release on the //Darkness// album up to the last minute, included as it was on several provisional album sequences in October 1977 and January 1978. Pressed onto an eleven-track final sequence, "Don't Look Back" was removed at the last-minute to ensure the album was not too long. Note: Two different mixes of the same core recording. V1a seems to be running at too slow a speed. Recorded at The Record Plant on October 14, 1977. V1b includes a horn section (Cruz-Manion-Pender-Rosenberg-Spengler) that was recorded in 1998 (not 1977) and then added to create the end product on //Tracks//. However this E Street Band base recording (i.e., without the 1998 horns) was used as the base recording for Southside’s original 1978 album track, with Southside merely replacing Bruce’s vocal with his own and adding in his own horn players at the time. Note: Recorded at The Record Plant on October 27, 1977. Both are the same recording but different mixes. V1a suffers from drop- outs. Note: Recorded at The Record Plant on October 11, 1977. The November 10 recording date in the //Tracks// liner notes appears to be an error - there was no session on that day. Premiered live on March 19, 1999 in Asbury Park at a public rehearsal show before the start of the Reunion Tour. Note: V1 recorded at Atlantic Studios in August 1977. V2 is more fully realized. Up-tempo, pop-flavored. The officially released V3 contains a modern vocal take, replacing the unfinished vocal found on the 'Deep Down In the Vaults' recording. V1 and V2 were bootlegged under the title "Get That Feeling". Takes recorded at either Atlantic or Record Plant on August 11-12 and 30, 1977. Note: V1 recorded at Atlantic Studios on June 1, 1977. This is a very rough early take with an uneven mix and some seriously off-key harmony vocals by Van Zandt. V2 was recorded September 27, 1977 at The Record Plant, officially released (unmolested) on //The Promise// in 2010. Note: V1 recorded at The Record Plant in September 1977. This is only the backing track - Bruce’s vocal is missing (assuming there was one). Takes recorded at The Record Plant on September 26 and 29-30, 1977. Bootlegged with the title "Someday Tonight". V3 is officially released on "The Promise" with a probably completely modern vocal take. The track features backing vocals by the Alliance Singers (Tiffeny Andrews, Corinda Crawford, Michelle Moore, and Antoinette Savage), who contributed choir vocals on //The Rising// album, in addition to Patti Scialfa and Soozie Tyrell. Note: V1 Recorded at Atlantic Studios on June 17, 1977. This is a complete take but it’s clearly not a final take. V2 officially released on //The Promise// with what appears to be a modern vocal. It is also likely that the horns were re-recorded as well. Original alternative title may have been "Dead End". Note: V1 was recorded at Atlantic Studios on June 1, 1977 with the lyrics not finished. V2 was likely recorded July 1, 1977 at Atlantic Studios (or, less likely, September 27, 1977 at The Record Plant),and is less embryonic but still with some unfinished lyrics. In late September 1977, fellow NJ poet/rocker Patti Smith, who was also recording at The Record Plant, became aware of the tune via Jimmy Iovine (who was engineering both artists). The not-quite-finished song was handed to Smith, who fine-tuned the lyrics and released the song in March 1978, three months before the //Darkness// album was issued – and it was a worldwide hit. The officially released V3 uses Smith's lyrics and is a modern vocal take. Note: V1 recorded at The Record Plant on October 14, 1977. This is a fully finished performance but the circulating audio is marred by the vocal being buried in the mix (a flaw in the bootleg audio source). The officially released V2 has what is most likely a modern vocal take. Originally bootlegged with the title "Endless Night". The very strange, seemingly unrelated alternative title for this was “English Sons”. Parts bear resemblance to "Loose Ends". Note: Recorded at the Record Plant on November 29, 1977 and officially released on //The Promise//. Contains a vintage vocal take with some modern parts, plus a modern horn section consisting of Barry Danielian (trumpet), Stan Harrison (tenor sax), Dan Levine (trombone), Ed Manion (baritone sax) and Curt Ramm (trumpet). Originally known from circulating audio of a //Darkness// tour rehearsal in May 1978. Note: V1 emanates from June 1-3, 8 and 17, 1977 at Atlantic. This is good take but the circulating audio is marred by vocal drop-out during the first verse. In a 1978 interview Springsteen said the song was kept off the album because it didn’t fit thematically. Bruce personally demonstrated the song to artist Greg Kihn in October 1978, who soon after recorded a cover (released in April 1979). A live version was used for //Tracks//, which may indicate Bruce wasn't satisfied with the available studio versions. The officially released V2 appears to have a modern vocal take which supports that position. Note: V1 and V2 are both from The Record plant during September-December 1977. V2 is more fully developed and in better sound quality. V3a was probably recorded in early January 1978 at The Record Plant and is officially released on //The Promise// CD. V3b is an aborted take of Springsteen singing over the top of a backing track and is included on the //Thrill Hill Vault// DVD/Blu-ray on //The Promise: The Darkness On The Edge Of Town Story// box set. Oddly absent from the studio logs, September 26, 1977 under the title "First New Rocker" is the most likely. This song bears some slight resemblance to “This Little Girl”, the hit song Bruce donated to Gary US Bonds in 1980. Previously bootlegged with the titles “What’s The Matter Little Darling” or "What's The Matter Darling". Note: Written in May 1977, a few days after Bruce and Steve attended an Elvis Presley concert in Philadelphia. V1 (which is not a final take) comes from June 17, 1977 at Atlantic Studios. Introducing the song on November 20, 1978 in Champaign, IL, Bruce said "this is a song I wrote, oh, we jammed it up in the studio one night in twenty minutes". Allegedly (and this may be myth) a finished demo take was sent to Elvis Presley in July or August 1977, shortly before his death, with the hope that Elvis might cover it. Bruce ended up donating the song to Robert Gordon, who recorded his cover (with Bruce on piano) in early December 1977 (released April 1978). The Pointer Sisters then quickly covered Gordon’s released version and had the major international smash hit in early 1979. The officially released V2 is a stronger, more developed take with potentially some modern vocal elements. Note: V1 apparently dates from August 1977 at Atlantic Studios, although studio logs indicate takes were only recorded on June 30, 1977. V2 likely dates from around the same time and is more developed but still features some bluffed lyrics. The logs say a song called "New Spanish" was recorded two weeks later on July 13; one assumes that is "Spanish Eyes". The officially released V3 has a modern vocal, and potentially some modern band elements. A great song that shares several lyrics with "I'm On Fire". Note: An unknown composition before the official release of //The Promise//. Features Jon Landau on drums, Bob Chirmside (Bruce's road manager between '75 and '81) on bass and a modern horn section of Barry Danielian (trumpet), Stan Harrison (tenor sax), Dan Levine (trombone), Ed Manion (baritone sax) and Curt Ramm (trumpet). Early working title may be "Jon's Jam", as found in the studio logs. A lone take was recorded June 14, 1977 at Atlantic Studios. The connection is Jon Landau, who provides the drums. Note: Takes recorded at Atlantic Studios on July 8 and 13, either Atlantic or Record Plant on August 5, 9, 24, 26 and 30, and at the Record Plant on October 14, 1977. V1 (missing Bruce’s vocal) is from Atlantic Studios in August 1977. V2 is the officially released take from //The Promise//, and features some original Jukes/Miami Horns members: Rick Gazda on trumpet, Stan Harrison on tenor sax, Ed Manion on baritone sax, Bob Muckin on trumpet, and Richie "La Bamba" Rosenberg on trombone. It is uncertain whether the horns are contemporary to the original recording, or a modern addition. The latter seems more likely. Bruce donated this composition (and "Hearts Of Stone") to Southside Johnny in spring 1978 for use on his upcoming third album. According to Max Weinberg, as with "Hearts Of Stone", the //Darkness// session E Street Band backing track was utilized for Southside Johnny's album. Note: Unknown composition until officially released on //The Promise//. Modern vocals, with possibly some modern band elements. Appears just once in the logs, a single take recorded August 15, 1977 at either Atlantic or Record Plant. Note: Unknown composition until officially released on //The Promise//. Recorded at Atlantic Studios on June 1, 1977, but modern vocals have been added, along with some modern band elements. Features a modern horn section of Barry Danielian (trumpet), Stan Harrison (tenor sax), Dan Levine (trombone), Ed Manion (baritone sax) and Curt Ramm (trumpet) and backing vocals by the Alliance Singers (Tiffeny Andrews, Corinda Crawford, Michelle Moore, and Antoinette Savage), who contributed choir vocals on //The Rising// album, in addition to Patti Scialfa and Soozie Tyrell. Note: Considered for the album, but ultimately rejected due to the personal lyrics. "//It was a song about defeat, and it was self-referential, which made me uncomfortable,//" said Springsteen in 2010. //"I didn’t want it to overtake the album, which, in the end, was not my personal story. I wanted ‘Darkness’ to be completely independent of that. So I left it off. But I remember saying to myself, 'This is something I can sing later.' The distance really helps it now.//” Premiered live on August 3, 1976 at Red Bank's Monmouth Arts Center in a solo piano arrangement. It would be performed that way throughout 1976 and 1977, however all circulating studio takes are with the band. V1 is from June or July 1977 (takes were recorded June 30 and July 1, 7-8 and 13, 1977). V2 is from August 1977 (takes recorded August 24 and 30 at Atlantic Studios). Both V1 and V2 feature slightly different lyrics. V3 is probably from The Record Plant in the September-October 1977 period (perhaps the September 28, 1977 performance recorded in the studio logs) and is the completed recording that Bruce rejected for //Tracks//. He instead opted to record a new version (issued on //18 Tracks//) that pales in comparison to the stunning V3. V4 (also recorded August 1977) is the official release included on //The Promise// CD, featuring a string arrangement by Ken Asher. Interestingly, V4 lacks the "...dead ends in the two-bit bars" and "...backseat of a borrowed car" lyrics from the final verse, both of which are present in all other circulating studio takes. V5 is a studio rehearsal recorded at The Record Plant in (probably early) January 1978 and is included on the //Thrill Hill Vault// DVD/Blu-ray on //The Promise: The Darkness On The Edge Of Town Story// box set. V6 was recorded after this rehearsal, on January 12, 1978, and remains in the vaults. Note: V2 officially released on //The Promise//, recorded October 14, 1977 at The Record Plant. Bruce’s working title was "Taxi Driver". Also known as "Taxi Cab" and "City At Night". Shares a line with 1988's "All That Heaven Will Allow". Note: Three slightly different mixes of the same performance. Takes recorded at either Atlantic or Record Plant on August 5 and 15, and at The Record Plant on September 12 and December 10-12, 1977. V1c is slightly faster, and officially released on //The Promise//, albeit as a hidden bonus track. Considered and rejected for //Darkness On The Edge Of Town//, //Tracks// and //The Essential//. Note: A completely modern take of this song, recorded July 22, 2010 at Colts Neck, is included on //The Promise//. It appears it was never recorded in the studio. V1 is a summer 1976 band rehearsal filmed by Barry Rebo in Holmdel, NJ and is included on the //Thrill Hill Vault// DVD/Blu-ray on //The Promise: The Darkness On The Edge Of Town Story// box set. Note: Recorded at The Record Plant on October 27, 1977. This is a completed take and one of the few that has surfaced from the sessions with the vocals mixed correctly. Also known as "New BoDo Rocker" in the studio logs. Bruce incorporated elements of the song into the middle of “She's The One” during the latter stages of the //Darkness// tour. Note: Recorded at The Record Plant on October 14, 1977. This is fully finished take but the circulating audio is slightly marred by the vocal being buried in the mix. The working titles were "Bo Diddley Rocker" or "Bodo Rocker". Note: Recorded at The Record Plant, perhaps on September 27, 1977. The circulating audio is marred by the vocal being buried in the mix. The very strange working title for this was "Say Sons". Short rocker. Note: V1 is from September 1977 at The Record Plant and is a rough workout with lyrics very bluffed. V2 is more developed, with nearly finished lyrics and is likely to date from shortly after. V2 also contains phrases also found in "Frankie", "Prove It All Night", and "Badlands", most notably " For the ones who once had a notion, it ain't no sin to be glad you're alive". Takes recorded on September 26-28 and November 4 + 7, 1977. Mixed in November 1997 for the //Tracks// project, but not used. Also known in collector circles as “All Night Long”. The audio quality on Scorpio's 'Loose Ends' is the best. Note: V1 dates from June 3, 1977, V2 from just over a month later, July 12, 1977. Both recorded at Atlantic. Bruce re-recorded the song five years later during the //Born In The USA// sessions and that later version (on //Tracks//) is far superior to either of these renditions. Note: Recorded at Atlantic Studios on June 1, 1977. Takes also recorded on July 1 (also at Atlantic), as well as September 12 at The Record Plant. This is complete but clearly not a final take. Bruce re-recorded it during the //River// sessions and it’s that version which is found on //Tracks//. Note: It is uncertain from which period of the //Darkness// sessions these two versions emanate from – probably from The Record Plant. V2 (which is in very weak sound quality) is sometimes listed under the alternate title of “I Wanna Be Wild” but these are clearly the same song with just alternate work-in-progress lyrics. A take of this song with the title "I Want To Be Wild" was recorded at the Record Plant on November 11, 1977. "Don't Say No" was registered with the US Copyright Office in November 2010, suggesting that it may have been a candidate for inclusion on //The Promise//. Note: This is an early (but entertaining) take with bluffed lyrics and called out key changes. "Crazy Rocker" was a working title, and it has also been known under the title "It's Alright". Does not specifically appear in the studio logs, but it may be "New Rocker", recorded at either Atlantic or The Record Plant on August 9, 1977. Note: Recorded at Atlantic Studios, probably very early in the sessions, perhaps June 1977. The audio take is very unfinished, with bluffed lyrics. No complete take is circulating from the //Darkness// sessions, although this song (like several others from these sessions) was re-recorded in 1979-80 during sessions for //The River// and that version has been issued on //Tracks//. Note: The only circulating audio is apparently from Atlantic Studios in June 1977, although the only appearance in the logs is October 14 at The Record Plant. An embryonic take with very unfinished lyrics and a lovely melody. Bruce’s work-in-progress title was “The Ballad”. Note: Studio logs indicate that Springsteen worked on this song at only two sessions, June 16 at Atlantic and August 24, 1977 at The Record Plant. V1 is definitely from that June session, V2 is probably also from June (an image of a tape inlay dated June 17 found in the //Darkness// box set book lists two takes), but could be from the August session. If V2 is from June, then the August 24 take does not currently circulate amongst collectors. V2 has a different opening and is shorter, lacking Clarence's saxophone solo. Note that although some bootleg CDs (such as Godfather's 'The Unbroken Promise') include two versions of the eight minute "Drive All Night", it appears that they are actually the same recording. Listed on some early vinyl boots by the title "Sad Eyes". Bruce re-recorded the vocal track during //The River// sessions, but apparently used the //Darkness// session backing music for the officially released version found on //The River//. Note: V1 recorded at Atlantic Studios June 1977. V2 fades in, repeats the last verse and is likely to emanate from the same time period. Takes were recorded June 24 and 27, and July 1, 1977. Premiered live during the Darkness Tour with a spoken introduction: "T his was a song that we recorded live in the studio about two years ago, the beginning of the summer and it was originally gonna be on //Darkness//, but it was too weird so we left it off". Bruce would often refer to "two summers ago" when introducing the song in 1978, but since he wasn't recording in 1976 he was presumably referring to the summer of 1977. Re-recorded for //The River// album. Note: At least four takes recorded at The Record Plant on September 12, 1977 and played once on the Darkness Tour on December 28, 1978 in Pittsburgh, PA. Re-recorded for //The River//. A song titled "Rocker" was registered with the US Copyright Office in January 2011 but information on the copyright claim suggests this is actually "Ramrod". It was registered because a short audio snippet was included in //The Promise: The Making Of Darkness On The Edge Of Town//, the documentary included on the box set. It can be heard at exactly 1:00.00. Note: Recorded at The Record Plant, probably September 26-27, 1977. The sound quality of this particular piece of audio is weak. Also recorded at either Atlantic or Record Plant on August 15. Further work undertaken at The Record Plant on November 4 + 11 and December 9. Short-listed for inclusion on //Darkness On The Edge Of Town,// included as it was on an October 1977 album cover mock-up. Bruce re-recorded this for release on //The River.// Note: Recorded at Atlantic Studios on June 1, 1977. Also known from a tape inlay image in the //The Promise - The Darkness On The Edge Of Town Story// box set book. The lyric "Our love will last forever" does appear in "Someday (We'll Be Together)", which was recorded later in the sessions. Note: A lone take of "Cheap Thrills" was recorded June 14, 1977, and would not make another appearance at the sessions. Based on the theme suggested by the title, Clinton Heylin surmises it may be what would become "Darlington County", which does appear on a work-sheet from the first Atlantic sessions, as reproduced in //The Promise// book. Also found in the book is the familiar couplet "My eyes have seen the glory of the comin' of the Lord / He was peelin' down the alley in a black and yellow Ford", not too different than what could be found in "Darlington County", which was recorded some five years later during the //Born In The USA// sessions. Note: Uncirculated outtake from the sessions. Recorded at The Record Plant on December 1, 1977. A song with this title was registered with the US Copyright Office in January 2011, around the same time as other songs included on //The Promise//. It was registered because a short audio snippet of the song was included in //The Promise: The Making Of Darkness On The Edge Of Town//, the documentary included on the box set. About 30 seconds can be heard in chapter 6 at 00:39.36, played by Springsteen on piano. Note: As reproduced in //The Promise// book. take #14 of this song was recorded sometime after August 1977, probably at Atlantic Studios. Takes are known to have been cut at either Atlantic or Record Plant on August 15 and September 14, 1977. Note: Uncirculated outtake from the sessions. Takes were recorded at either Atlantic or The Record Plant on August 10-11, 1977. Later mixed for //Tracks// but unused. Note: Uncirculated outtake from the sessions, also known as "King's Ransom" and "The King's Revenge". Takes recorded at The Record Plant on September 1 and 8-9, 1977. Note: Uncirculated outtake from the sessions, recorded at The Record Plant on September 9 and October 14, 1977. Note: Uncirculated outtake from the sessions, recorded at The Record Plant very late in the sessions, on March 14, 1978.
 * Candy's Boy:** V1 is a summer 1976 band rehearsal in Bruce's house in Holmdel, NJ and is included on the //Thrill Hill Vault// DVD/Blu-ray on //The Promise: The Darkness On The Edge Of Town Story// box set. V2 and V3 are from Atlantic Studios in June and August 1977 respectively and contain the familiar lyrics but utilize a different melody. V4 is longer, and includes an extra instrumental section. The officially released V5 (from June 1977) bears a strong resemblance to V3. Logs show takes of "Candy's Boy" were recorded on June 3, 6 and 27, August 24 and September 2, 1977). Early alternative title was "(I Will Forever Be) Candy's Boy". Included on an October 1977 album cover mock-up.
 * The Fast Song:** V6 is the familiar "Candy's Room" melody, with no lyrics. V7 and V8 feature nondescript bluffed lyrics (all three from August 1977 at Atlantic). Takes of "The Fast Song" were recorded June 6, 9-10, 13-14, 20 and 24, 1977 at Atlantic, with further work undertaken on August 24 and September 1-2. Lyrics found at the beginning of "The Fast Song", "I wish God's angels would tear this town down / and blow it into the sea", are also found in some performances of the "Backstreets" interlude from 1977's Lawsuit Tour (most famously on March 25 in Boston), as well as some early versions of "Something In The Night", e.g. February 13, 1977 in Toronto. Original or alternative title of "The Fast Song" may have been "God's Angels", one of the song titles found in //The Promise// book.
 * Candy's Room:** V9 is three mixes of the same recording. V9a (mix take #13) has reverb and delay added to the lead vocal, V9b (mix take #42) has a dry vocal. Cut at the Record Plant on September 27 and December 12, 1977, with further work undertaken on March 3-5, 1978. This version marries the melody of "The Fast Song" to the lyrics of "Candy's Boy".
 * || || ** DO-3 ** ||
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 * || || ** DDO / WAY / ESRR ** ||
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Part Three - Other Songs

Note: This song made its live debut in February 1977 at the start of the final leg of the Lawsuit tour but was not recorded during the sessions for //Darkness On The Edge Of Town//. Note: Co-written by Springsteen and Van Zandt in December 1976 during sessions for Southside Johnny’s second album (issued in May 1977). Not recorded during the sessions for //Darkness On The Edge Of Town//. Note: Co-written by Springsteen and Van Zandt in December 1976 during sessions for Southside Johnny’s second album (issued in May 1977). Not recorded during the sessions for //Darkness On The Edge Of Town//. Note: Co-written by Southside Johnny, Springsteen and Van Zandt in early 1978 during sessions for Southside Johnny’s third album. According to Southside he predominantly wrote the song, with Bruce and Steve merely adding bits and pieces. So a Springsteen studio recording of this song is highly unlikely to exist. Note: This instrumental made its live debut at the start of the //Darkness// tour in May 1978. Apparently not recorded during the sessions for //Darkness On The Edge Of Town//. Note: The official //Tracks// booklet lists the recording date as January 6, 1974 but this is clearly incorrect, given that Bruce and band were embarking on a three-night stand at Joe's Place in Cambridge, MA that day. The other production, engineering and musician credits for this recording point to it as being a //Darkness// session outtake, as has comments by Springsteen, who has always alluded to this recording within the context of the //Darkness// sessions. However, "So Young" hardly feels like a //Darkness//-era song and it's possible that the day/month recording date has been transposed (by Louis Lahav, an Israeli), so 1/6/74 would actually read June 1, 1974. It's therefore likely that the //Tracks// credits are incorrect, and "So Young" is actually a //Born To Run// outtake. Note: Please see the sessions page for //The River// for information about a recording of a full-band rehearsal that has circulated for many years. Unfortunately this recording has often been incorrectly attributed to the //Darkness On The Edge Of Town// sessions.

Part Four - Potential Album Sequences

October 1977 album sequence: January 16, 1978 album sequence: Part Five - More Songs From The Darkness Era
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 * Side two ||
 * Side one ............................................. ||
 * Side two ||
 * Side two ||
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 * Side two ||
 * Side two ||

The following titles emanate from the 1976-78 era. The information is based on the book included in //The Promise - The Darkness On The Edge Of Town Story// box set. It is unknown if these songs were ever recorded, or just standalone titles. Springsteen often creates song titles first and then attempts to write words and music around it - so the existence of a song title is no guarantee that a song was ever created. There is as yet no evidence these were completed songs (words and music) and for the majority no evidence they were recorded during any of the Darkness sessions. If they do exist as recordings then they would most likely be either as work-in-progress home cassette recordings or from Atlantic Studios sessions. It's also possible that some of these songs are merely work-in-progress or alternative titles for other tracks that we are more familiar with.

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